The Complete Poems

I am thirty this November.
You are still small, in your fourth year.

I am thirty this November.
You are still small, in your fourth year.
We stand watching the yellow leaves go queer,
flapping in the winter rain,
falling flat and washed. And I remember
mostly the three autumns you did not live here.
They said I’d never get you back again.
I tell you what you’ll never really know:
all the medical hypothesis
that explained my brain will never be as true as these
struck leaves letting go.

I, who chose two times
to kill myself, had said your nickname
the mewling months when you first came;
until a fever rattled
in your throat and I moved like a pantomime
above your head. Ugly angels spoke to me. The blame,
I heard them say, was mine. They tattled
like green witches in my head, letting doom
leak like a broken faucet;
as if doom had flooded my belly and filled your bassinet,
an old debt I must assume.

Death was simpler than I’d thought.
The day life made you well and whole
I let the witches take away my guilty soul.
I pretended I was dead
until the white men pumped the poison out,
putting me armless and washed through the rigamarole
of talking boxes and the electric bed.
I laughed to see the private iron in that hotel.
Today the yellow leaves
go queer. You ask me where they go. I say today believed
in itself, or else it fell.

Today, my small child, Joyce,
love your self’s self where it lives.
There is no special God to refer to; or if there is,
why did I let you grow
in another place. You did not know my voice
when I came back to call. All the superlatives
of tomorrow’s white tree and mistletoe
will not help you know the holidays you had to miss.
The time I did not love
myself, I visited your shoveled walks; you held my glove.
There was new snow after this.

- The Double Image, 1, pg. 35-36

Father, this year's jinx rides us apart
where you followed our mother to her cold slumber;
a second shock boiling its stone to your heart,
leaving me here to shuffle and disencumber
you from the residence you could not afford:
a gold key, your half of a woolen mill,
twenty suits from Dunne's, and English Ford,
the love and legal verbiage of another will,
boxes of pictures of people I do not know.
I touch their cardboard faces. They must go.

But the eyes, as thick as woo in this album,
hold me. I stop here, where a small boy
waits in a ruffled dress for someone to come . . .
for this soldier who holds his bugle like a toy
or for this velvet lady who cannot smile.
Is this your father's father, this commodore
in a mailman suit? My father, time meanwhile
has made it unimportant who you are looking for.
I'll never know what these faces are all about.
I lock them into their book and throw them out.

This is the yellow scrapbook that you began
the year I was born; as crackling now and wrinkly
as tobacco leaves: clippings where Hoover outran
the Democrats, wiggling his dry finger at me
and Prohibition; news where the Hindenburg went
down and recent years where you went flush
on war. This year, solvent bu sick, you meant
to marry that pretty widow in a one-month rush.
But before you had that second chance, I cried
on your fat shoulder. Three days later you died.

These are the snapshots of marriage, stopped at places.
Side by side at the rail toward Nassau now;
here, with the winner's cup at the speedboat races,
here, in tails at the Cotillion, you take a bow,
here, by our kennel of dogs with their pink eyes,
running like show-bread pigs in their chain-link pen;
here, at the horseshow where my sister wins a prize;
and here, standing like a duke among groups of men.
Now I fold you down, my drunkard, my navigator,
my first lost keeper, to love or look at later.

I hold a five-year diary that my mother kept
for three years, telling all she does not say
of your alcoholic tendency. You overslept,
she writes. My God, father, each Christmas Day
with your blood, will I drink down your glass
of wine? The diary of your hurly-burly years
goes to my shelf to wait for my age to pass.
Only in this hoarded span will love persevere.
Where you are pretty or not, I outlive you,
bend down my strange face to yours and forgive you.

- All My Pretty Ones, pg. 49-51

Since you ask, most days I cannot remember.
I walk in my clothing, unmarked by that voyage.
Then the almost unnameable lust returns.

Even then I have nothing against life.
I know well the grass blades you mention,
the furniture you have placed under the sun.

But suicides have a special language.
Like carpenters they want to know which tools.
They never ask why build.

Twice I have so simply declared myself,
have possessed the enemy, eaten the enemy,
have taken on his craft, his magic.

In this way, heavy and thoughtful,
warmer than oil or water,
I have rested, drooling at the mouth-hole.

I did not think of my body at needle point.
Even the cornea and the leftover urine were gone.
Suicide have already betrayed the body.

Still-born, they don't always die,
bu dazzled, they can't forget a drug so sweet
that even children would look on and smile.

To thrust all that life under your tongue! -
that, all by itself, becomes a passion.
Death's a sad bone; bruised, you'd say,

and yet she waits for me, year after year,
to so delicately undo an old wound,
to empty my breath from its bad poison.

Balanced there, suicides sometimes meet,
raging at the fruit, a pumped-up moon,
leaving the bread they mistook for a kiss,

leaving the page of the book carelessly open,
something unsaid, the phone off the hook
and the love, whatever it was, an infection.

- Wanting to Die, pg. 142-143

I was wrapped in black
fur and white fur an
you undid me and then
you placed me in gold light
and then you crowned me,
while snow fell outside
the door in diagonal darts.
While a ten-inch snow
came down like stars
in small calcium fragments,
we were in our own bodies
(that room that will bury us)
and you were in my body
(that room that will outlive us)
and at first I rubbed your
feet dry with a towel
because I was your slave
and then you called me princess.
Princess!

Oh then
I stood up in my gold skin
and I beat down the psalms
and I beat down the clothes
and you undid the bridle
and you undid the reins
and I undid the buttons,
and bones, the confusions,
the New England postcards,
the January ten o'clock night,
and we rose up like wheat,
acre after acre of gold,
and we harvested,
we harvested.

- Us, pg. 202-203

The speaker in this case
is a middle-aged witch, me -
tangled on my two great arms,
my face in a book
and my mouth wide,
ready to tell you a story or two.
I have come to remind you,
all of you:
Alice, Samuel, Kurt, Eleanor,
Jane, Brian, Maryel,
all of you draw near.
Alice,
at fifty-six do you remember?
Do you remember when you were read to as a child?
Samuel,
at twenty-two have you forgotten?
Forgotten the ten P.M. dreams
where the wicked king
went up in smoke?
Are you comatose?
Are you undersea?

Attention,
my dears,
let me present to you this boy.
He is sixteen and he wants some answers.
He is each of us.
I mean you
I mean me.
It is not enough to read Hesse
and drink clam chowder,
we must have the answers.
The boy has found a gold key
and he is looking for what it will open.
This boy!
Upon finding a nickel
he would look for a wallet.
This boy!
Upon finding a string
he would look for a harp.
Therefore he holds the key tightly.
Its secret whimper
like a dog in heat.
He turns the key.
Presto!
It opens this book of odd tales
which transform the Brothers Grimm.
Transform?
As if an enlarged paper clip
could be a piece of sculpture.
(And it could.)

- The Gold Key, pg. 223-224

We are America.
We are the coffin fillers.
We are the grocers of death.
We pack them in crates like cauliflowers.

The bomb opens like a shoebox.
And the child?
The child is certainly not yawning.
And the woman?
The woman is bathing her heart.
It has been torn out of her
and because it is burnt
and as a last act
she is rinsing it off in the river.
This is the death market.

America,
where are your credentials?

- The Firebombers, pg. 308

Time grows dim. Time that was so long
grows short, time, all goggle-eyed,
wiggling her skirts, singing her torch song,
giving the boys a buzz and a ride,
that Nazi Mama with her beer and sauerkraut.
Time, old gal of mine, will soon dim out.

May I say how young she was back then,
playing piggley-witch and hoola-hoop,
dancing the jango with six awful men,
letting the chickens out of the coop,
promising to marry Jack ad Jerome,
and never bothering, never, never,
to come back home.

Time was when time had time enough
and the sea washed me daily in its delicate brine.
There is no terror when you swim in the buff
or speed up the boat and hang out the line.
Time was when I could hiccup and hold my breath
and not in that instant meet Mr. Death.

Mr. Death, you actor, you have many masks.
Once you were sleek, a kind of Valentino
with my father's bathtub gin in your flask.
With my cinched-in waist and my dumb vertigo
at the crook of your long white arm
and yet you never bent me back, never, never,
into your blackguard charm.

Next, Mr. Death, you held out the bait
during my first decline, as they say,
telling that suicide baby to celebrate
her own going in her own puppet play.
I went out popping pills and crying adieu
in my own death camp with my own little Jew.

Now your beer belly hangs out like Fatso.
You are popping your buttons and expelling gas.
How can I lie down with you, my comical beau
when you are so middle-aged and lower-class.
Yet you'll press me down in your envelope;
pressed at neat as a butterfly, forever, forever,
beside Mussolini and the Pope.

Mr. Death, when you came to the ovens it was short
and to the drowning man you were likewise kind,
and the nicest of all to the baby I had to abort
and middling you were to all the crucified combined.
But when it comes to my death let it be slow,
let it be pantomime, this last peep show,
so that I may squat at the edge trying on
my black necessary trousseau.

- For Mr. Death Who Stands with His Door Open, pg. 351-352

A story, a story!
(Let it go. Let is come.)
I was stamped out like a Plymouth fender
into this world.
First came the crib
with its glacial bars.
Then dolls
and the devotion to their plastic mouths.
Then there was school,
the little straight rows of chairs,
blotting my name over and over,
but undersea all the time,
a stranger whose elbows wouldn't work.
Then there was life
with its cruel houses
and people who seldom touched -
through touch is all -
but I grew,
like a pig in a trenchcoat I grew,
and then there were many strange apparitions,
the nagging rain, the sun turning into poison
and all of that, saws working through my heart,
but I grew, I grew,
and God was there like an island I had not rowed to,
still ignorant of Him, my arms and my legs worked,
and I grew, I grew,
I wore rubies and bought tomatoes
and now, in my middle age,
about nineteen in the head I'd say,
I am rowing, I am rowing
though the oarlocks stick and are rusty
and the sea blinks and rolls
like a worried eyeball,
bu I am rowing, I am rowing,
though the wind pushes me back
and I know that that island will not be perfect,
it will have the flaws of life,
the absurdities of the dinner table,
bu there will be a door
and I will open it
and I will get rid of the rat inside of me,
the gnawing pestilential rat.
God will take it with his two hands
and embrace it.

As the African says:
This is my tale which I have told,
if it be sweet, if it be not sweet,
take somewhere else and let some return to me.
This story ends with me still rowing.

- Rowing, pg. 17-18

In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I'm walking up and down Beacon Hill
searching for a street sign -
namely MERCY STREET.
Not there.

I try the Back Bay.
Not there.
Not there.
And yet I know the number.
45 Mercy Street.
I know the stained-glass
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
the servants.
I know the cupboard of Spode,
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant's teeth
on the big mahogany table.
I know it well.
Not there.

Where did you go?
45 Mercy Street,
with great-grandmother
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
at noon
dozing in her wiggy rocker,
grandfather taking a nip in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was . . .
And where she was begat
and in a generation
the third she will beget,
me,
with the stranger's seed blooming
into the flower called Horrid.

I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at the street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
sucked up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
entire lifetime.

Pull the shades down -
I don't care!
Bold the door, mercy,
erase the number,
rip down my street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?

Not there.

I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charlie River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
my life,
and its hauled up
notebooks.

- 45 Mercy Street, pg. 481-484

What about all the psychotics
of the world?
Why do they keep eating?
Why do they keep making plans
and meeting people at the appointed time?
Don't they know there is nothing,
a void, an eyeless socket,
a grave with the corpse stolen?
Don't they know that God gave them
their miraculous sickness
like a shield, like armour
and if their eyes are in the wrong
part of their head, they shouldn't complain?
What are they doing seeing their doctors
when the world's up for grabs.

- from Letters to Dr. Y, pg. 574